349. The Dic. Nat. Biog. gives the date as 1635.
350. The stage directions for these entries are interesting: (l) 'Enter An Antique [i.e. antimasque] of Sheapheards'; (2) 'enter the Masque'; (3) 'the masque enters and dances, and after wardes exit.' The terms 'masque' and 'antimasque' appear to have been used technically for the dances of the masque proper, and of its burlesque counterpart. In this sense the words occur repeatedly in the British Museum Addit. MS. 10,444, which contains the music only. In the present case the masquers appear to have been distinct from the characters of the play.
351. R. Brotanek, Die englischen Maskenspiele, 1902, p. 201. See also the edition by R. Brotanek and W. Bang, Materialien zur Kunde des älteren Englischen Dramas, vol. ii, 1903; and further in the Modern Language Quarterly for April, 1904, vii. p. 17.
352. The first issue was printed 'for the use of the Author,' without date, but was received by Thomason on Sept. 1, 1656, which would appear to dispose of the fiction that Cox died in 1648.
353. This letter was prefixed to the masque in the collected edition of the Poems (1645), but was written to the author without view to publication.
354. Fifty-eight lines in decasyllabic couplets--not eighty-three lines of blank verse, as for some inexplicable reason Masson asserts (i. p. 150).
355. Specific references will be found scattered through Masson's notes. To supplement his work I may refer to some interesting remarks on Comus as a masque, and a useful comparison with Peele's play, by M. W. Samson, of Indiana University, in the introduction to his edition of Milton's Minor Poems, New York, 1901. Here, as elsewhere in the case of Milton's Works, I follow H. C. Beeching's admirable text, Oxford, 1900.
356. Not wishing to pursue this point further, I may be allowed to refer to certain candid and judicious remaries in Saintsbury's Elizabethan Literature, p. 387.
357. I am perfectly aware of, and in writing the above have made every allowance for, three considerations which may be urged in explanation of the passages in question. In the first place, it must be remembered that the age was an outspoken one, and used to giving free expression to thoughts and feelings which we are in the habit of passing over in silence. Secondly, the age was unquestionably one of considerable licence, which must be held to have warranted somewhat direct speaking on the part of those who held to a stricter code of morals; and, moreover, it must be conceded that the Puritan failing of self-righteous protestation was as a rule combined with very genuine practice of the professed virtues. Thirdly, there is the fact that the age of thirteen was at that time, by common consent, regarded as already mature womanhood. On one and all of these heads a good deal might be written, but it would only extend yet further a discussion which has already, it may be, exceeded reasonable limits.
358. I ought, perhaps, to apologize for thus alluding to these poems as subsequent to Comus, seeing that criticism usually places them some years earlier. There is, however, no external evidence of any kind, and to me the internal evidence of style points strongly to a later date. Possibly, since they are not fonnd in the Trinity MS., they were composed during Milton's travels, which would place them after Lycidas even, somewhere about 1638 or 1639. One of the ablest of our living critics, himself a close and original student of Milton, writes in a private letter: 'I long ago heard a good critic say that Comus seemed to him prentice work beside L'Allegro and Il Penseroso; and these do seem to me, I must confess, the maturer poems.' The point was raised by F. Byse in the Modern Language Quarterly for July, 1900, iii. p. 16.